We all know how tricky the entertainment industry can be. From negotiating contracts, deciding on artist and management royalty, and legal representation to what concert/tour dates work for the artist, the fee of each performance, and the logistics of the entire deal. I had a chance to sit down and talk with Rob Robbins, Managing Partner of Alliance Artist Management. They currently manage 21 classical ensemble and orchestras, nationally and internationally. And the most exciting part is that I was granted an opportunity to work with them as their spring 2011 Managerial Intern. Mr. Robbins, with his 20 year experience in the industry was able to provide me with some insight on how to effectively negotiate and reach a mutual agreement with the parties involved, without them feeling like an adversary. He explains that, "Negotiation and deal making is a somewhat unique process, you have to treat each one [negotiation] with respect, while recognizing your needs and wants and that of the other party". He then elaborated on Appreciation and Affiliation, saying they go hand in hand. It is somewhat equal to buying a car". Meaning when you buy a car, you have certain features, specifications, colors, interior, and exterior, etc. that you want and hope the dealership has them. To feel like your business is appreciated. "Artists and managers need to appreciate what they are getting and what is being offered", Robbins says.
As I listen to Mr. Robbins over the phone negotiating a deal or attempting to secure dates for one of the groups, I cannot help but wonder what it is like to be in his shoes. I have never seen him lose his temper or become agitated when working through a contract. "Learn how to separate yourself and the other party from the problem", he mildly states. It amazed when he referred to the Getting to Yes book, which I told him that we read also. His infinite knowledge has led me to believe that you can always get a yes from a negotiation if you just "Recognize that you're dealing with humans and human emotions, which tend to be irresolute sometime". After the interview I asked Mr. Robbins if he had any advice to give to anyone that desires a career in the entertainment industry. His response was simple. "If you find yourself in this business, learn how to separate the people from the problem, ask yourself what it is that I can and cannot afford to lose. Identify that and start negotiating".
23 January, 2011
10 December, 2010
Are Entrepreneurs Safe?
I have always wondered what the world would be like without the entrepreneurial spirit and heart of those that have built and established companies that are now multi-million, if not billion dollar companies. What ignited the thought to venture out and be set apart? How did they go about obtaining funds? What kind of partnerships/alliances do they have? All of these thoughts come to mind and I am thinking, “How can I get down?” I was fortunate enough to come across a video interview with Eric Garland on TransmitNow. TransmitNow offers year-round global programming in a variety of markets, populated by global thinkers and innovative developers. Jonas Woost, a Digital Media Advisor from Canada sits down with Eric Garland to discuss “challenges of being an entrepreneur in the entertainment industry.”
While some entrepreneurs are struggling to stay ahead of the debilitating economic crises, others are remaining optimistic that the money is still out there and creating jobs instead. In the interview Garland explains that the business itself is dependent upon cooperation from large media companies, who are sometimes unwilling to fund small projects. Also, “It is very difficult for us to realize a vision that furthers the business. One that changes and improves upon the risks that they don’t want to take.” You may be wondering if this situation can be “fixed”. Indeed it can. According to Eric, there is “not an easy fix, maybe with a time machine.” If we “align the fundamentals in a group of new industries that constitute the music industry or entertainment industry, we are well on our way to fixing it.” When he says fixed, he is referring to correcting the issues that have plagued the entertainment industry when there was “a lot of dumb money” being spent. He concludes by saying that “In the last 5 years, the situation has almost entirely corrected just by virtue of the fact that when these businesses have declined from a revenue loss and layoffs, has resulted in a much leaner version in terms of infrastructure.”
References:
While some entrepreneurs are struggling to stay ahead of the debilitating economic crises, others are remaining optimistic that the money is still out there and creating jobs instead. In the interview Garland explains that the business itself is dependent upon cooperation from large media companies, who are sometimes unwilling to fund small projects. Also, “It is very difficult for us to realize a vision that furthers the business. One that changes and improves upon the risks that they don’t want to take.” You may be wondering if this situation can be “fixed”. Indeed it can. According to Eric, there is “not an easy fix, maybe with a time machine.” If we “align the fundamentals in a group of new industries that constitute the music industry or entertainment industry, we are well on our way to fixing it.” When he says fixed, he is referring to correcting the issues that have plagued the entertainment industry when there was “a lot of dumb money” being spent. He concludes by saying that “In the last 5 years, the situation has almost entirely corrected just by virtue of the fact that when these businesses have declined from a revenue loss and layoffs, has resulted in a much leaner version in terms of infrastructure.”
References:
transmitNOW interview with Eric Garland from transmitNOW on Vimeo.
29 November, 2010
Giving Less, Demanding More
Giving Less, Demanding More
After reading the article Giving Increases But So Does Demand I found out that just as many businesses, small and large, corporations, and the human race in general are struggling to make ends meet so are non-profit organizations. Now you may be thinking just as I was, how so? When non-profit organizations do not operate on public funding? But the fact of the matter is that non-profits do have expenditures, whether it is a staff or service. According to the Non-Profit Times, “more then 23 percent nonprofits reported increases donations during the first nine months of this year than in 2009.”
Now can you see why I am a little apprehensive about starting the groundwork for my nonprofit? About 37 percent of charities reported a decrease in donations this year, down from 51 percent in 2009. Now, it is easier for one to just walk away and not go forward with the nonprofit, but if you have a steadfast and consistent spirit as I do, then you will find it easier to persevere. Yes, the economy is in a rut right now and the recession is growing intense by the day, hour it seems, but I am determined to establish a nonprofit, generating a profit.
It is all about you manage and effectively use your finances. That is why it is essential to have a financial team in order to determine whether or not the nonprofit will survive, and at what rate. There is a way to successfully run a business in this harsh economy. “About on in five organizations anticipate reduced budgets next year compared with about a third that expect to maintain their current level.” I am definitely aiming to be in that third that thrives off the saying, “Without struggle there is no Progress.” So with that being said, I think I will take my chances and proceed with my nonprofit to be an example for those that are having second thoughts.
www.nptimes.com/10nov/112910.html Giving Increases But So Does Demand
After reading the article Giving Increases But So Does Demand I found out that just as many businesses, small and large, corporations, and the human race in general are struggling to make ends meet so are non-profit organizations. Now you may be thinking just as I was, how so? When non-profit organizations do not operate on public funding? But the fact of the matter is that non-profits do have expenditures, whether it is a staff or service. According to the Non-Profit Times, “more then 23 percent nonprofits reported increases donations during the first nine months of this year than in 2009.”
Now can you see why I am a little apprehensive about starting the groundwork for my nonprofit? About 37 percent of charities reported a decrease in donations this year, down from 51 percent in 2009. Now, it is easier for one to just walk away and not go forward with the nonprofit, but if you have a steadfast and consistent spirit as I do, then you will find it easier to persevere. Yes, the economy is in a rut right now and the recession is growing intense by the day, hour it seems, but I am determined to establish a nonprofit, generating a profit.
It is all about you manage and effectively use your finances. That is why it is essential to have a financial team in order to determine whether or not the nonprofit will survive, and at what rate. There is a way to successfully run a business in this harsh economy. “About on in five organizations anticipate reduced budgets next year compared with about a third that expect to maintain their current level.” I am definitely aiming to be in that third that thrives off the saying, “Without struggle there is no Progress.” So with that being said, I think I will take my chances and proceed with my nonprofit to be an example for those that are having second thoughts.
www.nptimes.com/10nov/112910.html Giving Increases But So Does Demand
18 November, 2010
Music is Nourishment to the Soul
We all know that non-profit organizations are just that, NON-PROFIT. There are no hidden costs or fee requirements to be apart of the organization. So it is difficult in finding an organization that you can relate to without getting frustrated and feeling there are no resources to help fund the organization. Just when I was about to give up and switch over to my back up industry, I found the Music Performance Fund. Music Performance Fund (MPF) is the largest sponsor of live admission-free, professional musical programs. Like my company, it is a non-profit organization contributing knowledge and appreciation of music and to making live music a part of “every child’s life experience.”
The North American recording company and the American Federation of Musicians established Music Performance Fund (MPF) in 1948. Over the years, MPF has sponsored and continue to sponsor 23 music programs in schools, communities, and 7 national programs. The objective of MPF is to fuse together the music connoisseur and the amateur in contributing to the public’s knowledge and appreciation of music. Their main focus though, is to make music a part of every child’s life experience. And they make this possible thorough their 10 school programs, which is in 5 states, and Canada. The thing that I like about MPF is that they enlist co-sponsorship by other organizations. These organizations range from major corporations, like American Express to school boards.
As I sit and ponder what it would be like to earn status as reputable as theirs, two words come to mind: Patience and Consistency. Like HMS, Inc. MPF started small, but grew into this massive sponsor that brings together music and education and impart it to the world for FREE! In my company I feel that instead of doing things the traditional way of educating the youth through music, we can expand to schools and other notable venues to share with the community as well. It greatly affects my industry because with the steady decline of music programs in schools, children are not exposed to music, but most of all the history and culture of music. HMS, Incorporated will use its resources to be seen and not heard. By showing others what we do and why we do it, it will allow potential sponsors and the general public to understand how we operate and that we seek to transform lives through music as well. I was particularly drawn to the fact the MPF not only has an agenda to preserve music as part as a child’s educational growth, but they do it all for free. What that tells me is, that they are truly moved by the thought of the program truly “enriching lives through music.”
Music Performance Fund. http://www.musicpf.org/index.php
The North American recording company and the American Federation of Musicians established Music Performance Fund (MPF) in 1948. Over the years, MPF has sponsored and continue to sponsor 23 music programs in schools, communities, and 7 national programs. The objective of MPF is to fuse together the music connoisseur and the amateur in contributing to the public’s knowledge and appreciation of music. Their main focus though, is to make music a part of every child’s life experience. And they make this possible thorough their 10 school programs, which is in 5 states, and Canada. The thing that I like about MPF is that they enlist co-sponsorship by other organizations. These organizations range from major corporations, like American Express to school boards.
As I sit and ponder what it would be like to earn status as reputable as theirs, two words come to mind: Patience and Consistency. Like HMS, Inc. MPF started small, but grew into this massive sponsor that brings together music and education and impart it to the world for FREE! In my company I feel that instead of doing things the traditional way of educating the youth through music, we can expand to schools and other notable venues to share with the community as well. It greatly affects my industry because with the steady decline of music programs in schools, children are not exposed to music, but most of all the history and culture of music. HMS, Incorporated will use its resources to be seen and not heard. By showing others what we do and why we do it, it will allow potential sponsors and the general public to understand how we operate and that we seek to transform lives through music as well. I was particularly drawn to the fact the MPF not only has an agenda to preserve music as part as a child’s educational growth, but they do it all for free. What that tells me is, that they are truly moved by the thought of the program truly “enriching lives through music.”
Music Performance Fund. http://www.musicpf.org/index.php
03 November, 2010
Being a Girl ROCKS!
At some point in our lives we all come go through a transition phase. Both male and female experience this phase, which is why we are individuals. The term individual simply means “distinct” or “original”. And being a girl is no different, because it defines who I am on the inside. After listening to Eve Ensler’s TED talk Embrace your inner girl, I understand why females are considered emotional “creatures”. Ensler is the creator of Vagina Monologues and also founded V-Day- “a movement to end violence against women and girls everywhere.” She goes on to say that “there is a girl cell in us all.” Now, that is not to say that we all act feminine or have feminine ways, it is way of showing compassion, empathy, passion, openness, vulnerability, and emotion. Most men have been brought up to “bite the bullet” and never to show emotion, but Ensler insists that embracing our girl cell will allow us all to overcome some sense of violence and suppression.
This really hit home with me because from the ages of 11 to 13 I was molested by mother’s boyfriend. I was afraid, alone, and confused. Who was I going to run and tell? Who would believe me? Listening to Ensler tell the stories of the young women that have overcome harsh adversities and mustering up enough strength and courage to stand tall to declare IAM A GIRL, was powerful. She goes on to say that, “Being a girl is so powerful that we’ve had to train everyone not to be one.” Most people think being a girl is all about emotions and feelings, but I beg to differ. Being a girl is about educating, activating, confronting, engaging, and defying. Educating others on what it means to be a girl, activating our courage to stand tall in the midst of adversities, confronting all things that try and come against this movement, engaging in bringing awareness to the issues that affects girls worldwide, and defying all odds.
“If we teach girls to change the verb we will actually enforce the girl inside us and the girl inside them.” The verb Ensler is referring to is please. She says that as girls, we are looked to as to please everybody. We are expected by nature to satisfy everybody’s needs and neglecting our own. We are expected to take care of the house, the kids, and the family putting behind us our well-being, our education and so forth. So as I embrace the girl cell within, I somehow embrace the hope of becoming the woman that I am destined to be.
www.ted.com/talks/eve_ensler_embrace_your_inner_girl.html
This really hit home with me because from the ages of 11 to 13 I was molested by mother’s boyfriend. I was afraid, alone, and confused. Who was I going to run and tell? Who would believe me? Listening to Ensler tell the stories of the young women that have overcome harsh adversities and mustering up enough strength and courage to stand tall to declare IAM A GIRL, was powerful. She goes on to say that, “Being a girl is so powerful that we’ve had to train everyone not to be one.” Most people think being a girl is all about emotions and feelings, but I beg to differ. Being a girl is about educating, activating, confronting, engaging, and defying. Educating others on what it means to be a girl, activating our courage to stand tall in the midst of adversities, confronting all things that try and come against this movement, engaging in bringing awareness to the issues that affects girls worldwide, and defying all odds.
“If we teach girls to change the verb we will actually enforce the girl inside us and the girl inside them.” The verb Ensler is referring to is please. She says that as girls, we are looked to as to please everybody. We are expected by nature to satisfy everybody’s needs and neglecting our own. We are expected to take care of the house, the kids, and the family putting behind us our well-being, our education and so forth. So as I embrace the girl cell within, I somehow embrace the hope of becoming the woman that I am destined to be.
www.ted.com/talks/eve_ensler_embrace_your_inner_girl.html
16 October, 2010
"If you fail to plan, then you plan to fail"
I am sure when Harvey Mackay said this he was not specifically speaking of planning or project control, but it definitely fits the subject matter. In Jean Scheid’s article The Need For Project Control: Why Bother? She says, “The project with no set monitoring or control will fail…the need for project control is essential for project success.”
Any project whether large or small needs some type of control or managing to ensure that the planning phase, transition, and execution phase is on schedule and organized to a “t.” I cannot tell you how many times I have been to an event and the actual event was phenomenal, but it is not until I actually speak with the coordinator that I find out just how “stressful” planning the event was. My initial thoughts are, one: Did you implement project controls? And two: Did you delegate tasks to your team members so you could actually supervise and oversee?
Jean goes on to say that “The importance and need for project controls can be measured by the project plan.” She then gives what monitoring and controls should be based upon.
• Creating the Project Scope
• Team & Task Structure
• Associated Risk & Risk Management Plan
• Change Control Plan
• Status Monitoring
• Effective Communication Plans
• Budgets & Deadlines
• Evaluation & Analysis
• Corrective Plans
• Presentation Plans
With all of these controls set in place you can be sure to produce successful results on any project at hand. Project Control is not just about being a manager or leader with no boundaries; it is simply working with a team to ensure that the highest potential is reached on the project. Jean says, “The need for project control in every task or challenge given to you grows ever important, especially in the competitive world of project management.”
• Scheid, Jean, (2010, April 20). The Need for Project Control: Why Bother?
http://www.brighthub.com/office/project-management/articles/69114.aspx
Any project whether large or small needs some type of control or managing to ensure that the planning phase, transition, and execution phase is on schedule and organized to a “t.” I cannot tell you how many times I have been to an event and the actual event was phenomenal, but it is not until I actually speak with the coordinator that I find out just how “stressful” planning the event was. My initial thoughts are, one: Did you implement project controls? And two: Did you delegate tasks to your team members so you could actually supervise and oversee?
Jean goes on to say that “The importance and need for project controls can be measured by the project plan.” She then gives what monitoring and controls should be based upon.
• Creating the Project Scope
• Team & Task Structure
• Associated Risk & Risk Management Plan
• Change Control Plan
• Status Monitoring
• Effective Communication Plans
• Budgets & Deadlines
• Evaluation & Analysis
• Corrective Plans
• Presentation Plans
With all of these controls set in place you can be sure to produce successful results on any project at hand. Project Control is not just about being a manager or leader with no boundaries; it is simply working with a team to ensure that the highest potential is reached on the project. Jean says, “The need for project control in every task or challenge given to you grows ever important, especially in the competitive world of project management.”
• Scheid, Jean, (2010, April 20). The Need for Project Control: Why Bother?
http://www.brighthub.com/office/project-management/articles/69114.aspx
03 October, 2010
Who needs a T.E.A.M.?
With the advancement of digital technology, especially in the music industry, it makes it difficult for the individual artist to make their brand marketable. It takes a team of like minded individuals to make the record sales and increase profitability within that particular market.
A team, comprised of business minded people are necessary to change the atmosphere in the music arena. Every artist, leader, or businessman or woman did not make it to the top by themselves. They had a team in place to help build their brand in areas where they may have needed strengthening.
It is important to surround yourself with people that are going to help you write the vision, have a positive outlook on every situation, and those that can adapt and adjust at a moment's notice.
In the article How to build a Strong Music Team, Author and Marketing Coach of Campaign You Strategy Group Angela Carter gives three keys to building a strong team:
1. Recruit the Right People. "You must mobilize and recruit the right people for your street team for your marketing plans and promotional efforts to be successful."
2. Establish an Organized Structure. "A well-managed team provides more organization and structure. You should also provide training for your team that will help them do their work."
3. Motivate Your Members. "If you want a street team that will be excited to promote for you, who will work hard, who will be energized and motivated, you have to give them a mission. You should let your members know how their work supports a broader mission that you are trying to accomplish."
-Carter, Angela. (2010) How to Build a Strong Music Street Team to Promote Your Music. http://EzineArticles.com/?expert=Angela_M_Carter
A team, comprised of business minded people are necessary to change the atmosphere in the music arena. Every artist, leader, or businessman or woman did not make it to the top by themselves. They had a team in place to help build their brand in areas where they may have needed strengthening.
It is important to surround yourself with people that are going to help you write the vision, have a positive outlook on every situation, and those that can adapt and adjust at a moment's notice.
In the article How to build a Strong Music Team, Author and Marketing Coach of Campaign You Strategy Group Angela Carter gives three keys to building a strong team:
1. Recruit the Right People. "You must mobilize and recruit the right people for your street team for your marketing plans and promotional efforts to be successful."
2. Establish an Organized Structure. "A well-managed team provides more organization and structure. You should also provide training for your team that will help them do their work."
3. Motivate Your Members. "If you want a street team that will be excited to promote for you, who will work hard, who will be energized and motivated, you have to give them a mission. You should let your members know how their work supports a broader mission that you are trying to accomplish."
-Carter, Angela. (2010) How to Build a Strong Music Street Team to Promote Your Music. http://EzineArticles.com/?expert=Angela_M_Carter
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